More New Work for Boskone
Finally everything is packed - jewelry and some really beautiful new stones from my lapidaries.  Stones caught me up (not surprisingly) and took longer then they should have to pack.

These are photos of 2 more new designs for Boskone.

Ethiopian opal in sterling.  It's a delicate pendant.

Pearl Bird in sterling is about 2. 5 inches. I'm really happy with the piece.

Didn't have time to take a good photo since it was a difficult pendant to shoot.  Pearl looks really good but couldn't light well for both pearl and bird (bird is darker and less detailed then in life and much less alive).

Really looking forward to seeing my friends in Boston.  And so far so good on the weather.

New Work for Boskone
Getting closer to being ready.  Still have a little jewelry work left and then there is display etc.

I photographed a few of the pendants I'm bringing this time.

One of the most stunning moss agates I've ever seen.

A Jelly fish pendant with an Ethiopian opal and a pearl.  I love the aesthetic of jelly fish

Looking forward to seeing friends at Boskone.  Fingers crossed on weather.

Memory Landscapes: Going to Brooklyn
(Cross-posted on dreamwidth as laurieopal)

It looks like I'm writing a lot more often about my Memory Landscape project.

I posted recently about shadow photos for my Memory Landscape project. Check out the whole project here.

"These photos are images that may be part of the aesthetic of memory, where rather than have your mind go from one associative memory to another, instead it goes very briefly to a space that is not about remembering but simply about being. I’m in a place where I am considering things rather than making decisions."

For myself, I think of it as my mind going to Brooklyn. And Emma Humphries, who is working with me on the tech for this, is simply calling these images Brooklyn.

Guerrero Tree Shadowsfinal
Tree branches on Guerrero St, where I live now.


While the project has a very strong intellectual framework, I'm fundamentally thinking about it visually. Seeing extended patterns of memory images, some times partially changing, sometimes not. When Emma was talking to me about the code, she drew some it out for me in pictures (we both think in pictures in different ways). Then I realized that the html code and the hyperlinks were very much my memory visualization, and just how well suited this language is for a non-linear memoir. A non-linear memoir feels much realer to me than the usual narrative forms that we use to reframe and remake our stories in. So there seems to be a deep harmony between Emma's use of code language and the visual language of my art.

Shadows Roxburytrees final 3
Trees and sky in Roxbury in upstate New York, where I lived along time ago.

Guerrero wires Shadowsfinal
Lamp post and wires on Guerrero St.


If you look at these images and the ones in the previous blog, you can see the harmony between them. At the moment that feels very right to me, and may have ways of developing that I've just realized while writing this post.

I'm still considering the kinds of images I want for the brief state of simply being, but these will be part of the work in progress. As the new associative memory images and paths develop, I'll be posting about them.

Ocean Opal
Cross-posted on dreamwidth...I always forget to say this

I'm taking time away from working on designs for Boskone to post tonight. I have 2 brilliant Ethiopian opal pendants, one delicate and one held by large jelly fish, a gorgeous large muticolored moss agate and a lovely complex serpentine. They are all in process. Will put up some photos of them next week,

This is a stunning opal in an ocean reef setting. The stone really spoke ocean to be and it was a joy to work with. From the collection of Barbara Erickson. Pendant is sterling silver about 1.75 inches.

I love cephalopods!

Memory Landscapes: Shadow Pictures
I'm setting stones and polishing work for Boskone... staying up late.

This is about my work in progress Memory Landscapes. It's cross posted from Body Impolitic.

My current digital project is called “Memory Landscapes", a feminist visual memoir. Below is a brief description of the project. The gallery is here and a much fuller description of the project is here.

Memory is a form of time travel through your own time line. A visual memoir takes you into the artist's time line and lets you choose your paths through their lives. I started thinking about memory, and how what is remarkable is not how much we forget, but how much we remember. I realized that my memories are not linear – because ‘inside the head everything happens at once.’ (Penelope Lively) Linear narrative is a useful construct, but it's not how we actually remember.

I want to re-engage with the memories of my life, to create an autobiographical visual memoir, to express the poetics of non-linear time. Memories are filtered, by who we are now, who we were then, and what has happened in between. We view our past through layers of memories, and the past is everything that happened except this moment. It will eventually be on iPad app that creates an aesthetic of memory.

The iPad's technical possibilities allow me to create an aesthetic of memory, reflecting the way that memories in the brain are a series of contingent associations. If you tap an image within the picture, it can link to another image, voice, or text, and these links can continue on. So you can have an aesthetic of memory, associations, connections and layers. Like our memories, the associations and connections can change. I'm creating an experience modeled on the way we live in our memories.

One of the major photos with the associative memory threads is here.

These photos are images that may be part of the aesthetic of memory, where rather than have your mind go from one associative memory to another, instead it goes very briefly to a space that is not about remembering but simply about being. I'm in a place where I am considering things rather than making decisions.

These are 3 of the photos I'm considering. Now that I'm thinking about this I'm finding images as I walk around in the world.

Shadows Roxbury 3finalweb

This one is from some of the photos I took in Roxbury in upstate New York.

Pavement Shadowsfinalweb

These shadows are from a bare plum tree in front of my building.

Guerrero Church Shadows finalweb

The sky view is from the Mission in San Francisco.

I'm going to be very interested in how these resonate for people. And I expect I'll be putting up more of them as I continue to think about this.

Ecce Homo: Pictures at the Exhibition
I've been meaning to put this post about my photo on the museum poster up.  I've been carving too many waxes and lost track a bit.

I blogged before about a group of my photographs appearing in the National Museum of Art Osaka exhibition "Ecce Homo: Behold the Contemporary Human Image."

The modern expression of the human form grew increasingly varied in the 19th century with the advent of photography and the rise of painters’ attempts to capture the inner life of their models. In the 20th century, artists imbued images of people with their own sense of introspection, resulting in a variety of new developments. In this exhibition, drawn primarily from the museum collection, we present over 100 works dealing with the human image from the late 20th century by approximately 50 artists, including everyone from Jean Fautrier and Jean Dubuffet to Yasumasa Morimura and the duo of Sun Yuan & Peng Yu.
The exhibition started January 16th (today here, but yesterday in Japan). I've been sent a picture of the poster (below). The web site features 9 pictures from the exhibition (including my photograph of Tracy Blackstone and Debbie Notkin in this poster).

Ecce Homo poster

Yuki Onodera is a Japanese-born photographer who lives and works in Paris. "She acquired the second-hand clothes at Christian Boltanski’s 1993 Paris exhibition “Dispersion”. Boltanski had created a large heap of used clothing, and visitors to the exhibition were allowed to take a bag of clothes home for the fee of ten francs. Onodera did just that, and then mounted each of the pieces of clothing, symbolic of death in Boltanski’s work, thereby symbolically restoring them to individual life and capturing them as bodiless portraits."

Portrait of Second-Hand Clothing No. 52

Portrait of Second-Hand Clothing No. 52

This sculpture by Marc Quinn is made of polymer and freeze-dried animal blood: "the co-existence of innocence and corruption in the world." Quinn has used not only conventional sculpture material, but also blood, ice and faeces; his work sometimes refers to scientific developments. Quinn's oeuvre displays a preoccupation with the mutability of the body and the dualisms that define human life—spiritual and physical, surface and depth, cerebral and sexual. (Wickipedia)

Beauty and the Beast

Ken Kitano's image superimposes 38 photographs of Indonesian women, as part of his "Our Face" series. Kitano, who lives in Tokyo has been working on the series since 1999. The project is profoundly influenced by August Sander, who is an influence on my work as well.

38 Muslim Women Attending the Service at the End of Ramadan, Ambon, Maluku, Indonesia

Kikuji Yamashita served in the Japanese Army in China. "Memories of what he saw and did as a soldier there, including killing a Chinese prisoner, pervaded his ferocious postwar artistic vision and output." "The Tale of Akebono Village" is a famous surreal oil painting depicting a struggle between Japanese peasants and a greedy landlord.

The Tale of Akebono Village
The Tale of Akebono Village

I'll post more about the whole exhibition when I receive the catalogue and have a fuller sense of the show. What I've seen so far is really interesting. I'm looking forward to seeing all of it and reading the curators' discussions.

Hyalite and Opal Ring
I think I've written previously about the challenge of making these 2 stones work aesthetically together in a ring. It was challenging but I'm extremely pleased with the design. It would not have been challenging in a pendant but a ring is a very confined space.

As the title says stones are hyalite (white and clear stone) which is a kind of opal and an opal cabochon.

Ring is sterling about 1.5" high from the collection of Barb Moermond.

Spent most of yesterday doing the preliminary polishing on an group of pendants. Will be working on them more tomorrow. And it wax I'm carving a standing bird with a flaring muticolored pearl wing.

Opal, Collawood, and Lava and Moonstone
I'm back on LJ after a long period of working very intensely in wax. I have a group of designs finished and will be posting their photos after the folks who commissioned them receive them.

Designs include a stunning collawood with blue topaz, a lava and moonstone pendant in 14kt, and a large beautiful tear drop opal and 14kt with an especially interesting back. I always make sure that the backs of my work are also art but this one is special.

This is and opal and sterling pendant from the collection of Nancy Cobb.  Opal is more brilliant then the photo.  Opals are always hard to photograph. White near the top of the stone is a light reflection.

Woman in Shadows
(cross posted on Body Impolitic)

I was sitting in a restaurant with a friend (who does not want to be identified) and I was watching her as we talked. I was fascinated by the aesthetic of the intricate way the shadows played through the window and on her face and clothing.

I told her about it, but obviously she couldn't see it. I realized that, of course, I could take an iphone photo and show it to her. So I took a black and white photo of her and her surroundings. I'm not the kind of photographer who carries her camera with her looking for opportunities. My work has always been planned in some way. The landscape work I've done has always been on specific photography trips.

When I got home and looked at the image again I saw that there was potentially good art there and I did the appropriate work to make that happen. The work was relatively simple and made some subtle changes in the background but neither the woman nor the shadows were touched. There is an authenticity that is always important to me.

It's the first fine art portrait I've done in a long time.

woman in shadows1
woman n shadowsclose"

Interestingly the more expansive version my preference in the photographic print. But on the web I prefer the closer portrait. The shadow details work better on the web in the closer image. In the photograph they work beautifully in the larger image. The medium matters.

Spike Tailed Art Nouveau Woman and Gargoyles
(cross-posted on dreamwidth)

I was delighted to get a commission from Rebecca Burgess to do a gargolye setting in 14kt gold for this faux wedgewood. The cabuchon is a vintage art nouveau piece of a spiked tailed, graceful nymph in bas relief.

I spent a lot of time looking at images from Hieronymus Bosch paintings like this. You'll notice that one of my gargoyle heads is very closely related to one in the painting.

And I looked at a lot of images of gargoyles especially like some of the ones from Notre Dame. I spent a lot of time looking at them when I was in Paris.

The design went through several versions and required both research work and a great deal of fine detail carving.  I had the faux wedgwood for years and to have the perfect way to set it with gargoyles made me very happy.


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